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Next Special Offers and Product Promotions Editorial Reviews From Library Journal Published at the height of the sexual revolution?1968, to be exact?Crisp's memoir flaunting his homosexuality nonetheless raised plenty of eyebrows, even though he had been completely open about it for more than 30 years. Though quite humorous, the book is still sensitive to the feelings of anyone looking for acceptance for any reason. Copyright 1997 Reed Business Information, Inc. Read more From the Back Cover "As soon as I stepped out of my mother's womb...I realized that I had made a mistake", Quentin Crisp declares, giving a small hint of the witty and wry approach he takes toward the life he describes with uninhibited exuberance in this classic autobiography, which is both a comic masterpiece and a unique testament to the resilience of the human spirit. Crisp not only came out as a gay man in 1931, when the slightest sign of homosexuality shocked public sensibilities, but he did so with grand and provocative flamboyance, determined to spread the message that homosexuality did not exclude him or anyone else from the human race.

His hilarious descriptions of encounters with parents, friends, employers, soldiers and sailors, and the law reveal the strength and humor of an honest man, determined to face the world with the uncensored, unapologetic truth about himself. Quentin Crisp: Naked Hope: Edinburgh festival 2014 review – pithy wit under a blue-rinse wig | Stage | The Guardian Quentin Crisp: Naked Hope: Edinburgh festival 2014 review – pithy wit under a blue-rinse wig 3 / 5 stars Gilded Balloon, Edinburgh The legendary 'stately homo', who found fame after the 1975 TV adaptation of his autobiography, is stylishly brought back to life by Mark Farrelly in this entertaining one-man show Amusing but exhausting … Mark Farrelly in Quentin Crisp: Naked Hope at Gilded Balloon, Edinburgh. Photograph: Murdo Macleod for the Guardian Share on Messenger Close When asked to what he attributed his longevity, the raconteur, wit and self-styled "stately homo" Quentin Crisp replied: "bad luck".

It's our good luck that his musings remain in the form of his first autobiography, The Naked Civil Servant, and the public performances he gave in New York, where he finished his days, apparently very happily, in a filthy one-room flat. Mark Farrelly draws heavily on those writings for this one-man show in which he plays Crisp with some style in a blue-rinse wig. To be sure, we've probably already seen the definitive portrayal of Crisp on stage in Bette Bourne's performance, which covered similar territory, but that was over a decade ago, and it's good to catch another glimpse of the "senile delinquent" as he recalls his life and times at home in his Chelsea flat at the beginning of the 70s and, in the second half, at a public performance-cum-lecture in New York in the late 90s. This is a show that drips aphorisms and pithy witticisms, and while that ensures that it is always amusing, it can get a bit exhausting to watch too.

Farrelly's script squeezes in the details of Crisp's life with a minimum of fuss, skating over a middle-class childhood and a father who loathed him to get to the really interesting bits, including periods as an outcast, rent boy and artist's model. Fame came late to Crisp with the 1975 TV adaptation of The Naked Civil Servant, which starred John Hurt , a man "whose face lives up to his name". When it did, he made the most of it, as he discovered that after being out of step with the times for so much of his life, the times were now in step with him. It's an entertaining 70 minutes, and if it fails to truly penetrate the enigma of a man who never felt loved and who never found love himself, perhaps that's only because it's the way that Crisp himself would have wanted it. • Ends tonight. Box office: 0131-226 0000. Venue: Gilded Balloon , Edinburgh. Then at St James Theatre, London SW1, from 28 August.

Box office: 0844 264 2140 Autobiography - definition of autobiography by The Free Dictionary Autobiography - definition of autobiography by The Free Dictionary au·to·bi·og·ra·phy (ô′tō-bī-ŏg′rə-fē) n. pl. au·to·bi·og·ra·phies The biography of a person written by that person. au′to·bi·og′ra·pher n. au′to·bi′o·graph′ic (-bī′ə-grăf′ĭk), au′to·bi′o·graph′i·cal adj. au′to·bi′o·graph′i·cal·ly adv.

autobiography (ˌɔːtəʊbaɪˈɒɡrəfɪ; ˌɔːtəbaɪ-) n, pl -phies (Literary & Literary Critical Terms) an account of a person's life written or otherwise recorded by that person ˌautobiˈographer n au•to•bi•og•ra•phy (ˌɔ tə baɪˈɒg rə fi, -bi-, ˌɔ toʊ-) n., pl. -phies. a history of a person's life written or told by that person. [1790–1800] au`to•bi•og′ra•pher, n. autobiography An account of the writer’s own life. ThesaurusAntonymsRelated WordsSynonymsLegend: 1. autobiography - a biography of yourself biography , life history , life story , life - an account of the series of events making up a person's life memoir - an account of the author's personal experiences autobiography noun life story , record , history , résumé , memoirs He published his autobiography last autumn.

Quotations "An autobiography is an obituary in serial form with the last instalment missing" [Quentin Crisp The Naked Civil Servant] Translations تَرْجَمَة حَياة المُؤلِّف بِقَلَمِه سِيْرَةٌ ذاتِيَّة autobiografie autobiography (oːtəbaiˈogrəfi) noun the story of a person's life written by himself.

outobiografie تَرْجَمَة حَياة المُؤلِّف بِقَلَمِه автобиография autobiografia autobiografie die Autobiographie selvbiografi αυτοβιογραφία autobiografía autobiograafia شرح زندگی نویسنده توسط خود او omaelämänkerta autobiographie אוֹטוֹבִּיוֹגרַפיָה आत्मकथा autobiografija önéletrajz otobiografi sjálfsævisaga autobiografia 自叙伝 자서전 autobiografija autobiogrāfija autobiografi autobiografie selvbiografi autobiografia د یو لیکوال د ژوند تفصیل پخپله د هغه پواسطه autobiografia autobio­gra­fie автобиография autobiografia, vlastný životopis avtobiografija autobiografija självbiografi อัตชีวประวัติ otobiyografi

 , öz yaşam öyküsü 自傳 автобіографія آپ بیتی ،خود نوشت ،سوانح عمری tự truyện 自传 ˌautobioˈgraphic(al) (-ˈgrӕ-) adjective outobiograaf خاص بِتَرْجَمَة حَياة المُؤلِّف بِقَلَمِه автобиографичен autobiográfico autobiografický autobiographisch selvbiografisk αυτοβιογραφικός autobiográfico autobiograafiline مرتبط با خودزیست نامه omaelämänkerrallinen autobiographique אוֹטוֹבִּיוֹגרַפִי आत्मकथात्मक autobiografski önéletrajzi otobiografis sjálfsævisögulegur autobiografico 自叙伝の 자서전적인 autobiografinis autobiogrāfisks berkaitan autobiografi autobiografisch selvbiografisk autobiograficzny د خپل بایوګرافی

 پوری ارتباط لرل autobiográfico auto­bio­grafic автобиографический autobiografický avtobiografski autobiografski självbiografisk เกี่ยวกับอัตชีวประวัติ otobiyografik, öz yaşam öykülü 自傳的 автобіографічний آپ بیتی کے طور پر có tính chất tự truyện 自传的 autobiography Jack Gold at the BFI (July-August 2016).

Monday 25th July 2016 - ^The Naked Civil Servant^ in NFT1 and Panel Discussion Event. | Mumsnet Discussion Add a message This is page 1 of 1 (This thread has 1 message) Jack Gold at the BFI (July-August 2016). Monday 25th July 2016 - ^The Naked Civil Servant^ in NFT1 and Panel Discussion Event. (1 Post) Jack Gold at the BFI: The Naked Civil Servant / Panel discussion with Jane Lapotaire, Sir John Hurt, Tony Garnett, Carl Davis, Sir Jeremy Isaacs and Michael Billington (chair). Part of A Midas Touch: The TV and Films of Jack Gold which runs until the end of August. The director Jack Gold, who died in 2015, had a wide and an illustrious career of over 50 years which encompassed theatre, TV and film.

It is his TV and film output which is the subject of the most recent retrospective at the BFI where, on Monday night, screened his most famous work The Naked Civil Servant : the ITV TV biopic, from 1975, of the writer, wit, eccentric, raconteur and one of England’s great ‘Stately Homos’ Quentin Crisp ( played with relish by a young Sir John Hurt) as part of an evening’s celebration of Gold’s work. The screening was followed by a panel discussion which included some of the most celebrated names in British film and television: the actress Jane Lapotaire, producers Tony Garnett and Sir Jeremy Isaacs , composer and conductor Carl Davis, and Sir John Hurt himself. The evening was chaired by the Guardian theatre critic Michael Billington and the clips introduced by Jack Gold himself (with clips from a talk he gave at the Cinema Museum in Kennington shortly before his death), adding an element of poignancy to the proceedings.

Jack Gold Jack Gold’s work is rooted in a key moment of post war British television history, when TV, still fairly fresh out of the blocks after the end of war, offered a new medium ripe for technical experimentation, innovation in representation, in adaptation, documentary making, authenticity and realism, a medium for tackling immediate social issues and concerns and a platform for new, young writers ready to tackle the potential of TV for new types of drama and dramatic writing. This was, famously, the ‘Golden Age ‘ British television which at the time was dominated by the duopoloy of commercial (ITV) and BBC public service broadcasting. These new creative voices forged a path to success through experimentation in documentary; arts programming; realist, experimental and popular drama.

Jack Gold, a somewhat under celebrated voice in British Television, takes his place among this pantheon of programme makers and also next to the two greatest Kens of British Film and TV: the director, left wing fire brand , social realist and documentarian Ken Loach and the ‘enfant terrible’ British cinema, the late Ken Russell whose career began at the BBC making experimental, audacious and controversial documentaries and bio-docudramas for the Beeb’s arts showcase Monitor and in fact Jack Gold shared a number of key production colleagues with both Loach AND Russell.

After a cutting his teeth with a number of documentaries for the Tonight programme from 1960, in ’67, after a gradual transition towards to television drama, he began making films for The Wednesday Play - a televisual platform for new and innovative left wing socially-conscious drama from which emerged some of the most important and influential television dramas of the post war era - the most famous of which, Ken Loach’s searing housing crisis docu-drama Cathy Come Home was produced by Tony Garnett who also produced Gold’s own social realist drama and critique of the unsafe conditions in the building industry The Lump (a clear progenitor of Alan Bleasdale’s seminal 1982 drama series The Boys From The Blackstuff ). Garnett also produced Gold’s adaptation of Brecht’s ^ The Irresistible Rise of Arturo Ui^ (1972) – bringing Brecht to British TV, as the panel pointed out, was a pioneering move.

One of the innovations that Gold shared with Ken Loach was taking the camera out of the studio and onto location, into the street (which according to Jane Lapotaire, during the panel discussion, was something the BBC were reluctant to do – preferring to make the most of the expensive equipment and studios in at the then newly built TV Centre, White City), enlarging the scope of Television’s modes of representation. On The Lump he also shared an editor, Dave King, with Ken Russell – King later went on to edit Russell’s controversial and experimental , avant garde film about the composer Richard Strauss, Dance of the Seven Veils , in 1970 for ^ Omnibus^ . Like Russell, Gold also made a film for Omnibus : The World of Coppard (1967)- adapting three of AE Coppard’s short stories for TV.

Director of photography Brian Tufano, who worked on The World of Coppard (the first TV fictional drama to be shot entirely on flm) and whose illustrious career includes films like Trainspotting (1996), East is East (1999), Billy Elliot (2000), Kidulthood (2006), Quadrophenia (1979( and many many more, began his career back in 1966 on Ken Russell’s television biopic/documentary film¸ the masterpiece Isadora, the Biggest Dancer In The World (1966) about the dancer Isadora Duncan – a pioneering film which relocates and draws together in its style, photography, framing, composition, the two mediums of film and television. Tufano also worked on Russell’s Omnibus film Dance of the Seven Veils. Sadly Tufano was due to be part of the BFI Panel discussion but was unable to attend. In the 1970s Gold began working as a freelance director.

For ITV and London Weekend Television he made a number of key, influential dramas including Mad Jack (1970) – an experimental film, written by Tom Clarke, about the WWI poet Siegfried Sassoon and his protest against the destruction and waste of the war; Faith and Henry (1969) – a love story set amongst the increasingly post industrial landscape of Britain and Stockers Copper (1972) – about the 1913 Cornish Clay Miners Strike which bares comparison with Ken Loach’s own Days of Hope from 1975: a documentary realist drama set during the 1926 General Strike and a comment on the industrial unrest of the mid 1970s.

By the late 1960s Gold had also started to turn to the medium of film where he also demonstrated similar social concern: The Bofors Gun (1968); The Reckoning (1970); The Sailors Return (1978, based on David Garnett’s novel, again using Tufano as cinematographer), The National Health (1973) dealt respectively with power, authority and the impotence of ‘the officer class’; the story of a Liverpool businessman whose journey from the Liverpool slums to economic success facilitates a moral decline; immigration and racial tensions – two key post war concerns filtered through an adaptation of a Victorian set novel; and a drama set in a decaying hospital (a metaphor for 70s Britain). In 1978 he directed a supernatural thriller, The Medusa Touch , starring Richard Burton, Lee Remick and Harry Andrews about a man with psychokinetic abilities.

The Naked Civil Servant – Screened at in NFT1 on Monday 25th June 2016; Panel Discussion On Monday evening, the BFI screened , to a packed out house, Jack Gold’s most famous and lauded work, The Naked Civil Servant (ITV,1975) , his biopic, starring Sir John Hurt, of one of England’s greatest wits and raconteurs, Quentin Crisp. Born in 1909 at a time when homosexuality was looked upon as an ostracising ‘sexual perversion’ and worse – illegal, Crisp (born Denis Prat) was ‘out’ (and outrageously so) from when he was a boy. The film begins with an introduction from the real (aging) Crisp and then cuts to an image of him as a child dancing and admiring himself in the mirror wearing his mothers clothes. The film was written by Phillip Mackie and based on Crisp’s own autobiography. Clive James famously said of it ‘It’s the best Jack Gold Film...since the last one’ .

In 2000 it came fourth in a the BFI list of the top 100 TV programmes of the 20th century (the highest ITV entrant on the list). The film was produced by seasoned producer Verity Lambert ( Doctor Who ) and won Hurt a BAFTA for best actor. In the panel discussion after the screening Hurt mentioned that Crisp had had little involvement in the production itself, only visiting the set 4 or 5 times. Hurt apparently asked him, if his performance was camp enough to which Crisp replied “You can’t be camp enough dear”. He also said that before Hurt came on board Gold had thought about casting the female impressionist and light entertainment star Danny La Rue in the role! The script crackles with Crisp(ian) wit. In the final scene of the film as the aging Crisp is accosted by a group of young homophobes who threaten to tell a nearby copper that he molested them unless he gives them a quid each, he responds (with one of Crisp’s most famous lines): “I defy you to do your worst. It can hardly be my worst. Mine has already and often happened to me. You cannot touch me now.

I am one of the stately homos of England!” It’s a film which resonates today, depicting Crisp as a true pioneer and champion of diversity and gay rights. John Hurt’s performance as Crisp stuns, particularly in a scene in which, dragged up in front of the judge on a trumped up charge of soliciting, Crisp gives the performance of his life, an impassioned plea, duly turning the Judge’s mind and getting the case thrown out. It is interesting to consider if this is a film that could get made today – in a era where were we get our great TV drama from around the globe and where domestic drama has been somewhat subjected to Downtonisation, where England is often presented in the safest, idyllic, and comforting ways. The Naked Civil Servant does not shy away from depicting the nation’s innate homophobia, which is as present today as it was in the 1930s (note for instance the lethal attack on 34 year old David Morely in 2004 close to the Royal Festival Hall on London’s Southbank).

It does not flinch from depicting the repression of the era to which Crisp was an antidote and the verbal and physical assaults to which he was subjected and to which he responded in kind, not with fists, but with biting and often savage wit. One scene towards the start of the film particularly stands out, when sitting with his fellow queens in their favourite West end Cafe, the Black Cat (where earlier Crisp, in a pivotal moment, puts on lipstick for the first time), he is savagely set upon by a group of East End thugs, whispering in the ear to one of them as a punch is delivered ‘Why don’t you sod off back to Hoxton before they find out you’re queer’. Gold’s direction is the epitome of economical and he opens the way for Hurt’s performance to carry the scene. When asked by his repressed Victorian father “Do you intend to spend your entire life admiring yourself?” Crisp responds “If I possibly can”. A self-proclaimed martyr , his flamboyant and theatrical life became a never ending quest to turn heads, to shock and to ‘make them understand’ (as well as a doomed search for a ‘Great dark man’).

London, is depicted, throughout the film as highly repressed space, full of men lurking on dark streets looking for trade: civil servants, bankers, married fathers unable to be open about their sexuality. By contrast however the end of the film is more positive, taking place in the late 1960s, and we see Crisp walking down a London street full of men in drag, gay men, liberal open sexual attitudes and he contemplates his own position in relation to all of this. We see and reflect that it was his refusal to cow tow to the repressive demands of society that helped pave the way for modern, more liberal attitudes to sexuality. The film has shades of both Ken Russell (who during the 60s and 70s expanded and evolved the biopic format and who, three years later, would make a two part bio drama, Clouds of Glory/Rime of the Ancient Mariner (1978)) on the lives of the Lakes poets, Wordsworth and Coleridge, for ITV and Gold’s other contemporary Dennis Potter, who was similarly writing controversial, innovative, boundary pushing television dramas, which frequently also dealt with childhood, sexual repression, violence, social hypocrisy and decline.

There is a scene towards the end of the Gold’s film where Crisp reminisces about the one time he felt truly happy: meeting a group of sailors one starry night on the seafront in Portsmouth. Here he feels total acceptance and friendship for the one and only time in his life. The scene, with its use of music and staged theatricality, reverie and unreality not seem out of place in a Potter drama, or indeed in a film like Russell’s The Boyfriend . During the panel discussion which followed the screening, the panel talked with affection about Gold on both a personal and professional level and it served as a fantastic introduction for the uninitiated to Gold’s the sheer diversity and breadth of Gold’s work – adaptation, the biopic, social realism, surrealism..and made this writer ponder why his work is, compared to his immediate contemporaries, so under celebrated. Maybe it was because Gold’s own modesty (something that was strongly emphasised in the discussion) and his commitment to his family that kept him out of the limelight. Whatever the reason, the retrospective at the BFI will be instrumental in drawing attention to his work, once again.

Catch the remainder of the season at the BFI Southbank as part of the season A Midas Touch: The TV and Films of Jack Gold which runs until the end of August. Autobiography synonyms, autobiography antonyms - FreeThesaurus.com Autobiography synonyms, autobiography antonyms - FreeThesaurus.com Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content . Link to this page: Exploring leadership teaching methods Nevertheless, the awkwardness of a "closet screenplay" becomes a great asset in a text whose very title bespeaks an inability to fit Malcolm X into one narrative location: One Day, When I Was Lost: A Scenario Based on Alex Haley's The Autobiography of Malcolm X. African autobiography: the contribution of women Fabian contributes more directly to the recent burgeoning of scholarship on the autobiography form in America and Europe, (1) whereas Appleby's ambition reaches beyond the monographic to highlight the "human touch" that autobiographical evidence can bring to the writing of grand historical narrative. Carolyn A.

Barros, Autobiography: Narrative of Transformation 1968 Quentin Crisp's The Naked Civil Servant becomes virtually the only autobiography in which a homosexual is open about his sexual identity and creates a new category of gay literature: the gay autobiography, which sees its earliest mainstream success in The David Kopay Story (1977), a pro football player's memoir. Autobio - definition of Autobio by The Free Dictionary Autobio - definition of Autobio by The Free Dictionary Also found in: Thesaurus , Encyclopedia , Wikipedia . au·to·bi·og·ra·phy (ô′tō-bī-ŏg′rə-fē) n. pl. au·to·bi·og·ra·phies The biography of a person written by that person. au′to·bi·og′ra·pher n. au′to·bi′o·graph′ic (-bī′ə-grăf′ĭk), au′to·bi′o·graph′i·cal adj. au′to·bi′o·graph′i·cal·ly adv.

autobiography (ˌɔːtəʊbaɪˈɒɡrəfɪ; ˌɔːtəbaɪ-) n, pl -phies (Literary & Literary Critical Terms) an account of a person's life written or otherwise recorded by that person ˌautobiˈographer n au•to•bi•og•ra•phy (ˌɔ tə baɪˈɒg rə fi, -bi-, ˌɔ toʊ-) n., pl. -phies. a history of a person's life written or told by that person. [1790–1800] au`to•bi•og′ra•pher, n. autobiography An account of the writer’s own life. ThesaurusAntonymsRelated WordsSynonymsLegend: 1. autobiography - a biography of yourself biography , life history , life story , life - an account of the series of events making up a person's life memoir - an account of the author's personal experiences autobiography noun life story , record , history , résumé , memoirs He published his autobiography last autumn.

Quotations "An autobiography is an obituary in serial form with the last instalment missing" [Quentin Crisp The Naked Civil Servant] Translations تَرْجَمَة حَياة المُؤلِّف بِقَلَمِه سِيْرَةٌ ذاتِيَّة autobiografie autobiography (oːtəbaiˈogrəfi) noun the story of a person's life written by himself.

outobiografie تَرْجَمَة حَياة المُؤلِّف بِقَلَمِه автобиография autobiografia autobiografie die Autobiographie selvbiografi αυτοβιογραφία autobiografía autobiograafia شرح زندگی نویسنده توسط خود او omaelämänkerta autobiographie אוֹטוֹבִּיוֹגרַפיָה आत्मकथा autobiografija önéletrajz otobiografi sjálfsævisaga autobiografia 自叙伝 자서전 autobiografija autobiogrāfija autobiografi autobiografie selvbiografi autobiografia د یو لیکوال د ژوند تفصیل پخپله د هغه پواسطه autobiografia autobio­gra­fie автобиография autobiografia, vlastný životopis avtobiografija autobiografija självbiografi อัตชีวประวัติ otobiyografi

 , öz yaşam öyküsü 自傳 автобіографія آپ بیتی ،خود نوشت ،سوانح عمری tự truyện 自传 ˌautobioˈgraphic(al) (-ˈgrӕ-) adjective outobiograaf خاص بِتَرْجَمَة حَياة المُؤلِّف بِقَلَمِه автобиографичен autobiográfico autobiografický autobiographisch selvbiografisk αυτοβιογραφικός autobiográfico autobiograafiline مرتبط با خودزیست نامه omaelämänkerrallinen autobiographique אוֹטוֹבִּיוֹגרַפִי आत्मकथात्मक autobiografski önéletrajzi otobiografis sjálfsævisögulegur autobiografico 自叙伝の 자서전적인 autobiografinis autobiogrāfisks berkaitan autobiografi autobiografisch selvbiografisk autobiograficzny د خپل بایوګرافی

 پوری ارتباط لرل autobiográfico auto­bio­grafic автобиографический autobiografický avtobiografski autobiografski självbiografisk เกี่ยวกับอัตชีวประวัติ otobiyografik, öz yaşam öykülü 自傳的 автобіографічний آپ بیتی کے طور پر có tính chất tự truyện 自传的 autobiography An Englishman in New York (2009) - IMDb IMDb Doctor Strange Confirmed to Appear in ‘Thor: Ragnarok’ 20 hours ago There was an error trying to load your rating for this title.

Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error An Englishman in New York ( 2009 ) 1h 15min The later years of Quentin Crisp's life in New York. Director: a list of 22 titles created 08 Oct 2011 a list of 22 titles created 03 Dec 2011 a list of 27 titles created 12 Apr 2012 a list of 25 titles created 28 Dec 2012 a list of 46 titles created 12 Apr 2014 Title: An Englishman in New York (2009) 7.2/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 4 wins & 7 nominations. See more awards » Photos Add Image Add an image Do you have any images for this title?

The life and times of Quentin Crisp, an outrageous and flamboyant homosexual, coming of age and growing into old age in conservative England. Director: Jack Gold The history of the Gay and Lesbian community before the Stonewall riots began the major gay rights movement. Directors: Greta Schiller, Robert Rosenberg Stars: Rita Mae Brown, Maua Adele Ajanaku, Red Jordan Arobateau Adolescent curiosities and sexual explorations of a 15-year-old boy named Antonio who's just coming to terms with his sexuality. Through Antonio's mother and friends, we get an interesting ... See full summary » Director: Joselito Altarejos A fictionalized account of what may have happened when John Lennon and Brian Epstein went on holiday together to Spain in 1963. Director: Christopher Munch 1 2 3 4 5 6 7 8 9 10 6.7/10 X A poignant romantic drama examines the life of gay 26 year old, ex-monk, school teacher living in Manhattan. When he meets a man at a gay bar, they connect and are soon living together. Unfortunately their views on monogamy don't match.

Director: Christopher Larkin A young boy falls in love with a handsome policeman who is investigating his family's criminal activities. Director: Auraeus Solito It's the day before Christmas, the day before John's 21st birthday. He's a prostitute on Santa Monica Blvd in L.A., and he wants to spend that night and the next day at the posh Park Plaza ... See full summary » Director: Scott Silver This film is the story of the spectacular life and violent death of British playwright Joe Orton. In his teens, Orton is befriended by the older, more reserved Kenneth Halliwell, and while ... See full summary » Director: Stephen Frears A portrait of the last days of high school. Two friends spend all day long together, but this will inevitably come to an end. A beautiful sincere story of mixed emotions and secrets that dare not speak loud. Directors: Juan Chappa, Martín Deus Stars: Katja Alemann, Valentino Arocena, Juan Felipe Villanueva Joaquin (Polo Ravales), an unassuming fisherman, is forced to confront his homosexuality when his sex-starved wife Cynthia (Althea Vega) returns from her overseas job eager to get pregnant....

See full summary » Director: Joel Lamangan The true story of gay lovers, Richard Loeb and Nathan Leopold Jr. who kidnapped and murdered a child in the early 1920s for kicks. The plot covers the months before the crime, the ... See full summary » Director: Tom Kalin When a new boy moves into the area Cecilie and Peter's friendship is changed. Director: Frank Mosvold Edit Storyline Following the success of his television biography 'The Naked Civil Servant' Quentin Crisp is invited to America to lecture on How To Be Happy, and falls in love with New York's more permissive ambiance. Agent Connie Clausen enables him to be a 'resident alien', writing film reviews and dispensing words of wisdom. Curious about but impervious to trends, he describes AIDS as a "fad, nothing more", actually to divert heterosexual anger but he is misinterpreted and reviled by many gays. A return to popularity occurs when he helps Patrick Angus, a young, AIDS-afflicted artist attain fame for his paintings and his healthy cynicism is marketed by performance artist Penny Arcade, putting him back in the limelight.

Poor health causes him to refuse a lecture tour of England but he gives a triumphant final audience at a gay club in Tampa. A postscript informs that he died at the age of 91. Written by don @ minifie-1 27 April 2009 (USA) See more » Also Known As: Egy angol New Yorkban See more » Filming Locations: Did You Know? Trivia A continuation concerning the latter part of his life in New York City during the 1980s and 1990s. See more » Quotes Chat Show Host : His extraordinary story, The Naked Civil Servant, which was broadcast last night has been described as the triumph of the resolute individual against the faceless multitude. He is Mr. Quentin Crisp. (United States) – See all my reviews It is not necessary to have seen John Hurt's previous portrayal of Quentin Crisp in "The Naked Civil Servant" to appreciate this new film, but it is interesting to consider the subtle but different tones of each. The first was a cotton-candy confection that delighted on its own terms in spite of being based upon Quentin's much more somber autobiography.

The current film is also sweet, but it incorporates some of the more serious issues of Quentin's later life, namely his seemingly indifferent, cavalier response to AIDS and how he dealt with growing old. Quentin was misunderstood in life because people, gay and straight, viewed him as a harlequin; but, anyone who has had the pleasure of reading his books, which this film curiously barely mentions, knows that he was a sober, ferocious intellect who, while flamboyant in approach and appearance, was a product of his time and came to us as a famous person, late in life, inevitably possessing, in the 1970's, '80's, and '90's, at least some of the Edwardian notions that informed his youth in the 1920's and '30's. This film achieves the formidable task of presenting Quentin both as he appeared publicly and as he thought privately. One can only imagine how difficult it must have been to construct the script. It was inspired to have utilized the framework of Quentin's relationships with various people upon which to construct the biography.

By showcasing Quentin's friendships with a literary figure (his friend from "Christopher Street" magazine), an AIDS figure (the young, anguished painter), and a performing artist, the film reflects important facets of his personality and helps to illuminate the sometimes perplexing concept of the world according to Crisp or what he in life famously termed "Crisperanto." Quentin's dialog in the film may sound epigrammatic to some; but, that is how the gentleman actually spoke, and he had a great deal to say. These considerations are perilously academic, however. What is important is that the film is, in and of itself, magnificent. One is tempted to observe that John Hurt does Quentin better than did Quentin himself. It is difficult to take one's eyes off of this intricately prepared, compelling actor. How astonishing are those scenes that show Hurt as Quentin: playing Queen Elizabeth I in a film, waxing ruefully upon the ravages of aging; as he really was, in his tiny apartment, hair down, balding, elderly, alone; tilting his head back, upon theater stages, in cafés, or while simply walking down the street, to achieve that rollicking laugh that so soothed and beguiled.

Because portraying Quentin is by definition flashy, Hurt at first may appear mannered and theatrical; but, if one watches closely, he will realize that the actor knows precisely when less is more. His performance is, in fact, careful. It is vigorous but not exaggerated, and the effect is remarkable. Those who approach "An Englishman in New York" armed with old political animosities from the Act Up era are missing out, really, because, as troubling as Quentin seemed in his attitude towards AIDS, he did try to atone for it, in his own way (even people with huge and gracious hearts can sometimes find it impossible to say "I'm sorry"), and because he blazed so uniquely and with such genius in innumerable other areas. As a social commentator, essayist, novelist, film critic, philosopher, public speaker, and most unlikely of fashion plates, Quentin Crisp had no peer. For better or worse, he remains a gay -- and literary -- icon. This film does justice to this totally unique man both as a legend and as he was at heart, a caring, emotional creature whose ultimate love and humility will likely outlive the hats, scarves, and tinted hair that memorably punctuated his public persona.

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Question: Whose autobiography was entitled The Naked Civil Servant
Answer: Quentin Crisp